Inspiration is found everywhere – even on Instagram and Twitter. One of the coolest people that I have come across in my internet travels is Bambi Generazzo AKA Toxic Bambi.
Describing herself as a “Robot Building Super Villain in Training,” this amazing artist is not only using her unique outlook to transform the world, but she is also bringing awareness to the world of disability. Defying and redefining her cerebral palsy diagnosis with the powerful energy of a pigtail wearing, color happy, comic loving adventuress, she is a true beacon of awesomeness.
Independent art makes the world go round. Case in point, one of the coolest things to happen to the LGBTQIA community was the ‘90s queer core music movement. Artists like Bikini Kill, Come, Pansy Division and the Rotten Fruits proved that there was a wide variety of DIY entertainment options for those who like an angrier, grittier, more angular approach to the creative muse.
In keeping with the energy of those vibrant times, artist Jeff Junker has just released Queer Punk Horror Art, a compilation of his work that is sure to bring back the ragged vibes of those days with the turn of every page.
The majority of society feels like it is living on a perilous financial ledge, as of late. Expenses rise. Salaries stay the same…or even worse, decrease. One disaster could put many of us on the streets or, perhaps even worse – back on our parents’ couches! Thus, it seems ever more important to lend a hand when we can…even if it is just a couple of dollars.
Zack Kauffman, one of the brilliantly creative minds behind Atomic Cotton, has recently incurred some major medical expenses and is need of the horror community’s assistance. He and his wife, Erica, are great people and I’m sure that even that loose change that is jingling softly in your apartment’s corners would truly help them out.
It’s cool that a “woof” on the Scruff app of my phone means that some dude 3000 miles away from me thinks that I’m hot. But, in all honesty, it’s a magazine like Woof! Dog Eat Cinema Magazinethat truly brings out the beast in me!
Coming straight from the dirty sheets of The Netherlands, courtesy of editor-creator Hans Minkers, this publication is perfectly pulsating with provocatively illustrated articles on everything from post apocalyptic roller skate movies to the filmic output of Draculina publisher Hugh Gallagher. You can also find substantive reports on the movies of Andy Milligan (Issue #4, Hans Van De Broeck) and the creations of director-producer Johan Vandewoestijne (Issue #5, Van De Broeck), one of the men responsible for the popular Troma title Rabid Grannies.
As someone who prides himself on owning as many variants of Alice, Sweet Aliceon tape as possible, I also love how each issue focuses on a different VHS collector, honing in on their special interests and passion films. Minkers also is the force behind one of the more enjoyable regular features, Whatever Lola Wants. Here, he reviews a VHS from his collection that has been chosen by his 4 year old daughter. Thus, we are treated to explorations of films as varying as Clue and Stephen Spielberg’s Duel.
Nicely, decadent artwork is one of the primary focuses of this vibrant creation, as well. Sane Van Der Horst’s howlingly phallic creation in Issue #3 is a standout while Printsploitation founder Scott R. Miller contributes a centerfold full of unique performers for the publication’s latest issue. Willie Darktrousers also comes up with some enjoyably monstrous creations for the Gallagher feature.
And while the sleaze and grease of psychotic celluloid aberrations fully populate this enterprise, the feministic perspective is not ignored here. Laura Louwes is always on hand to give smart and fun reactions to classic porn titles with A Woman’s Perspective.
Filled with sexy action and cinematic intrigue, Ruger, a new comic book created and written by genre goddess Sybil Danning, is a welcome treat for many reasons. The primary pleasure, though, is the lead character, herself. Strong, mysterious and enjoyably anti-authoritarian, Ruger is definitely deserving of becoming a well recognized feminist icon.
Based upon the character from the popular late ‘80s action flick L.A. Bounty, here our heroine is out to nab a payday by bringing in a charismatic Canadian diplomat. The only problem is that he is under the protection of the Federal Government of the United States. Naturally, flying bullets, explosions and epic car crashes are part of the journey that the primary focus takes to try to claim her mark.
Agreeably, the artistic team, including Scott Ethan Ambruson, G.W. Fisher and Dash Martin, have a natural affinity for the exploitation films that Danning is honoring here. They particularly capture Ruger’s chill, insolent nature as she toys with the soldiers and officials who are busy at work trying to neutralize her plans.
Nicely, this buoyant energy makes one truly excited for the future adventures that are sure unfold around this irreverent bounty hunter in the next two issues of the series.
If one needs evidence of the diversity of the horror fan, they have to look no further than the latest issue of Printsploitation magazine. A combination of a comic book, fine art publication and a more traditional genre magazine, this brain child of artist Scott Miller, features drawings from a number of influential indie genre artists devoted to various decades of terror cinema.
Nicely, in the third volume, the glorious black and white artwork is balanced out by a terrific article on the posters of ‘80s sexploitation flicks (and fun reviews of the films themselves) by Heavy Metal Moviesauthor Mike “McBeardo” McPadden and a celebration of acclaimed yet obscure VHS box artist CW Taylor by Dr. Jose.
The art, itself, is an amazing display of eclectic interests and themes. From Don England’s take on Peter Cushing to Putrid’s detailed reimagining of the (much maligned) 1979 monster film Prophecy, this volume has surprises on every page. Favorites here include Corrine Halbert’s darkly innocent take on Michael from the epically trashy Euro horror Burial Groundand the beautiful rendered power profiles of such icons as Susan Tyrell, Debbie Rochon and William Girdler by Klon J. Waldrip.
Capped off by Halbert’s hypnotically quirky take on 1962 indie masterpiece Carnival of Soulson the cover, this beautiful tribute is a must have in the collection of any serious fan of the scare scene.
Printsploitation Issue No. 3 is available for purchase from
Some prefer their witches with a Charmed imbued cuteness. Others enjoy theirs as a cackling spew against darkened cauldrons. Nicely, Count the Clock Productions has decided to present their succulent sorceresses with some Poe-like zest…as evidenced by their latest Gothic short, The Ball.
Filled with director Zach Lorkewicz’s expected visual flourishes, this rhyming exercise from the pen of Michael Coe, a truly unique approach for a horror entry, begins happily. An ebullient young lass named Pearlie (a personably subtle Avril Dominguez) prepares for the arrival of her beau for an elegant night on the town. But a ghost from her past soon threatens to mask the evening in revenge and tragedy. Pearlie, therefore, must summon up some persuasive powers to ensure that her night goes according to plan.
Enjoyably, Lorkewicz’s always unusual, highly developed artistic flair is accentuated here by a neat capper of an ending.